Pub Date : 2021-12-13DOI: 10.1080/20511817.2021.1946286
A. Stefan
P eter Berta’s Materializing Difference: Consumer Culture, Politics, and Ethnicity among Romanian Roma makes an important contribution to the understanding of social life of things and its connection to politics, ethnicity, and social distinction among Romanian (Transylvanian) Roma. The story centers around silver beakers and roofed tankards, prestige objects around which Gabor and C arhar Roma, two This is an Open Access article distributed under the terms of the Creative Commons AttributionNonCommercialNoDerivatives License (http://creativecommons.org/licenses/by-nc-nd/ 4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way.
{"title":"Review of Péter Berta, Materializing Difference, Consumer Culture, Politics and Ethnicity among Romanian Roma, University of Toronto Press, 2019","authors":"A. Stefan","doi":"10.1080/20511817.2021.1946286","DOIUrl":"https://doi.org/10.1080/20511817.2021.1946286","url":null,"abstract":"P eter Berta’s Materializing Difference: Consumer Culture, Politics, and Ethnicity among Romanian Roma makes an important contribution to the understanding of social life of things and its connection to politics, ethnicity, and social distinction among Romanian (Transylvanian) Roma. The story centers around silver beakers and roofed tankards, prestige objects around which Gabor and C arhar Roma, two This is an Open Access article distributed under the terms of the Creative Commons AttributionNonCommercialNoDerivatives License (http://creativecommons.org/licenses/by-nc-nd/ 4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45338013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-22DOI: 10.1080/20511817.2021.1946293
Marc Paternot, Oliver P. Heil
Abstract This article introduces a new construct to the field of luxury research, namely eroticism. This construct is, to a limited degree, based on the extant knowledge as very little research seemingly exists on the construct which, otherwise, has been “around” for centuries. Next, the construct is operationalized, measured, and empirically validated. A newly developed index, the Brand Erotic Index is employed to rank luxury brands according to their erotic appeal. Interviews with various experts from different fields (luxury executives, marketing academics, fashion and design experts, and psychologists) allow to explore the relationship between eroticism and luxury fashion (and constitute our qualitative study). Next, in our more quantitative study, we analyze survey data from a sample of 167 participants who were asked to evaluate eroticism. In the second quantitative study, a different sample of 217 respondents rated their brand perception about the erotic appeal of nine luxury fashion brands (LFBs). An exploratory factor analysis suggested that that eroticism is a multi-faceted construct consisting of six distinct sub-constructs. Next, we applied multidimensional scaling (based on brand personality and brand style) and found that distinct positionings for most selected LFBs appear to exist. Our findings should help executives and designers of luxury goods or fashion in transforming the power of eroticism into concrete business and artistic propositions. The findings should also ignite future research.
{"title":"When Eroticism Makes Luxury Fashion Brands Fly: Introducing the Construct of Eroticism, Providing a First Measurement and Rank of Luxury Fashion Brands Using a Newly Developed “Brand Erotic Index”","authors":"Marc Paternot, Oliver P. Heil","doi":"10.1080/20511817.2021.1946293","DOIUrl":"https://doi.org/10.1080/20511817.2021.1946293","url":null,"abstract":"Abstract This article introduces a new construct to the field of luxury research, namely eroticism. This construct is, to a limited degree, based on the extant knowledge as very little research seemingly exists on the construct which, otherwise, has been “around” for centuries. Next, the construct is operationalized, measured, and empirically validated. A newly developed index, the Brand Erotic Index is employed to rank luxury brands according to their erotic appeal. Interviews with various experts from different fields (luxury executives, marketing academics, fashion and design experts, and psychologists) allow to explore the relationship between eroticism and luxury fashion (and constitute our qualitative study). Next, in our more quantitative study, we analyze survey data from a sample of 167 participants who were asked to evaluate eroticism. In the second quantitative study, a different sample of 217 respondents rated their brand perception about the erotic appeal of nine luxury fashion brands (LFBs). An exploratory factor analysis suggested that that eroticism is a multi-faceted construct consisting of six distinct sub-constructs. Next, we applied multidimensional scaling (based on brand personality and brand style) and found that distinct positionings for most selected LFBs appear to exist. Our findings should help executives and designers of luxury goods or fashion in transforming the power of eroticism into concrete business and artistic propositions. The findings should also ignite future research.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41378331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-19DOI: 10.1080/20511817.2021.1958524
Ryan D. Castle
Abstract A conversation between two perfume industry leaders, Ryan Day Castle and Barbara Herman, highlights the cultural value of scent as a communication vehicle, debates the specificities of the sense of smell and its impact on human emotions, and examines the fragrance industry from a new perspective.
摘要两位香水行业领袖Ryan Day Castle和Barbara Herman之间的对话强调了香水作为一种交流工具的文化价值，讨论了嗅觉的特殊性及其对人类情感的影响，并从一个新的角度审视了香水行业。
{"title":"Post-Pandemic Scentsploration with Barbara Herman, Founder of Eris Parfums and Author of Scent and Subversion","authors":"Ryan D. Castle","doi":"10.1080/20511817.2021.1958524","DOIUrl":"https://doi.org/10.1080/20511817.2021.1958524","url":null,"abstract":"Abstract A conversation between two perfume industry leaders, Ryan Day Castle and Barbara Herman, highlights the cultural value of scent as a communication vehicle, debates the specificities of the sense of smell and its impact on human emotions, and examines the fragrance industry from a new perspective.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48431514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-16DOI: 10.1080/20511817.2021.1946285
A. Gilbert
Abstract Widespread legalization is turning cannabis into big business. As cultivation, manufacturing, and retail sales expand in size and sophistication, the industry appears to be evolving into a commodity market. This paper reviews the state of cannabis with respect to factors that contribute to the success of other luxury consumables such as wine and perfume. While many of these factors are available to cannabis, they exist in only rudimentary form today. Certain features of cannabis culture that present obstacles to the development of a luxury ethos are also discussed.
{"title":"Cannabis: The Uncertain Path from Agricultural Commodity to Luxury Consumable","authors":"A. Gilbert","doi":"10.1080/20511817.2021.1946285","DOIUrl":"https://doi.org/10.1080/20511817.2021.1946285","url":null,"abstract":"Abstract Widespread legalization is turning cannabis into big business. As cultivation, manufacturing, and retail sales expand in size and sophistication, the industry appears to be evolving into a commodity market. This paper reviews the state of cannabis with respect to factors that contribute to the success of other luxury consumables such as wine and perfume. While many of these factors are available to cannabis, they exist in only rudimentary form today. Certain features of cannabis culture that present obstacles to the development of a luxury ethos are also discussed.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41957591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/20511817.2022.2034273
Aida Sykes
African Luxury: Aesthetics and Politics, is a collection of nine essays edited by Mehita Iqani and Simidele Dosekun. It is one of the first modern scholarly examinations of luxury that focuses exclusively on Africa. In the book, ‘African luxury’ is used to describe both African consumption of luxury, from the continent and outside it, as well as the creation of luxury in Africa, for consumption on the continent and outside it. The book was published in 2019, before the COVID-19 pandemic but reading it in 2022 its case studies and conclusions about the validity of African luxury, the agency of Africans in luxury, and the self-determination Africans bring to our consumption of luxury carry more weight, not less. For example, more Africans turned to the joys of domestic luxury tourism, with hotels and tour companies lowering prices to become more accessible as international tourism lagged. Additionally, during lulls in the pandemic Africans participated in communal experiences with luxury elements, Aida Sykes is a private sector development specialist working in East Africa, where she helps provide development financing to mature and high-potential companies in the region. Ms. Sykes also advises leading financial institutions in the region on gender equality and women’s economic empowerment. She is passionate about creating opportunity for all Africans, in traditional fields as well as in creative industries. Ms. Sykes holds an MBA specializing in management, marketing and luxury marketing from the Leonard N. Stern School of Business at New York University, and a BA in Political Science from Yale University. Lu xu ry D O I: 10 .1 08 0/ 20 51 18 17 .2 02 2. 20 34 27 3
{"title":"African luxury: aesthetics and politics","authors":"Aida Sykes","doi":"10.1080/20511817.2022.2034273","DOIUrl":"https://doi.org/10.1080/20511817.2022.2034273","url":null,"abstract":"African Luxury: Aesthetics and Politics, is a collection of nine essays edited by Mehita Iqani and Simidele Dosekun. It is one of the first modern scholarly examinations of luxury that focuses exclusively on Africa. In the book, ‘African luxury’ is used to describe both African consumption of luxury, from the continent and outside it, as well as the creation of luxury in Africa, for consumption on the continent and outside it. The book was published in 2019, before the COVID-19 pandemic but reading it in 2022 its case studies and conclusions about the validity of African luxury, the agency of Africans in luxury, and the self-determination Africans bring to our consumption of luxury carry more weight, not less. For example, more Africans turned to the joys of domestic luxury tourism, with hotels and tour companies lowering prices to become more accessible as international tourism lagged. Additionally, during lulls in the pandemic Africans participated in communal experiences with luxury elements, Aida Sykes is a private sector development specialist working in East Africa, where she helps provide development financing to mature and high-potential companies in the region. Ms. Sykes also advises leading financial institutions in the region on gender equality and women’s economic empowerment. She is passionate about creating opportunity for all Africans, in traditional fields as well as in creative industries. Ms. Sykes holds an MBA specializing in management, marketing and luxury marketing from the Leonard N. Stern School of Business at New York University, and a BA in Political Science from Yale University. Lu xu ry D O I: 10 .1 08 0/ 20 51 18 17 .2 02 2. 20 34 27 3","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43279935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/20511817.2021.2122267
Thomaï Serdari
HARDNESS IS AN IMPORTANT PROPERTY WHEN JUDGING THE QUALITY and possible applications of a material. It can also give indications concerning the tensile strength, ductility, or wearing quality of the material. Beginning in approximately 1822, quantitative evaluation of hardness was carried out based on the hardness scale developed by F. Mohs. He ordered known minerals so that the harder mineral scratched the one preceding it.
{"title":"Introduction","authors":"Thomaï Serdari","doi":"10.1080/20511817.2021.2122267","DOIUrl":"https://doi.org/10.1080/20511817.2021.2122267","url":null,"abstract":"HARDNESS IS AN IMPORTANT PROPERTY WHEN JUDGING THE QUALITY and possible applications of a material. It can also give indications concerning the tensile strength, ductility, or wearing quality of the material. Beginning in approximately 1822, quantitative evaluation of hardness was carried out based on the hardness scale developed by F. Mohs. He ordered known minerals so that the harder mineral scratched the one preceding it.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43555862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/20511817.2021.2030923
David Brody
Abstract While there is extensive scholarship about how the art world devises, secures, and furthers, to use Pierre Bourdieu’s term, “distinction,” in this article I connect the Bourdieuian notion of taste to the luxury act of collecting art in the twenty-first century. I contend that collecting art is a luxury experience that bifurcates class and racial divides. The very act of collecting is a cultural mechanism that furthers socio-economic division through a form of cultural gatekeeping that restricts access to the privileged few. This article initially looks at a group of mostly white collectors, individuals who come to the art world with privilege and capital that fosters possibilities and access, and then considers a group of Black collectors, individuals who may have the financial assets to purchase art yet do so to further a sense of pride, respect, joy, and what Christina Sharpe describes as a form of “wake work” within the Black community. Even though art collecting is an elitist activity predicated on financial resources and in-network expertise, a cohort of Black art collectors has attempted to break down the barriers around access that have delimited the art world. I assess these efforts to challenge exclusivity. I argue that a great deal of the cultural work that segregates race and class, through the machinations of collecting, occurs because of specific attitudes that keep resources within privileged realms as a result of restrictive practices, actions that define luxury consumption.
{"title":"Making the Contemporary Art Market More Inclusive","authors":"David Brody","doi":"10.1080/20511817.2021.2030923","DOIUrl":"https://doi.org/10.1080/20511817.2021.2030923","url":null,"abstract":"Abstract While there is extensive scholarship about how the art world devises, secures, and furthers, to use Pierre Bourdieu’s term, “distinction,” in this article I connect the Bourdieuian notion of taste to the luxury act of collecting art in the twenty-first century. I contend that collecting art is a luxury experience that bifurcates class and racial divides. The very act of collecting is a cultural mechanism that furthers socio-economic division through a form of cultural gatekeeping that restricts access to the privileged few. This article initially looks at a group of mostly white collectors, individuals who come to the art world with privilege and capital that fosters possibilities and access, and then considers a group of Black collectors, individuals who may have the financial assets to purchase art yet do so to further a sense of pride, respect, joy, and what Christina Sharpe describes as a form of “wake work” within the Black community. Even though art collecting is an elitist activity predicated on financial resources and in-network expertise, a cohort of Black art collectors has attempted to break down the barriers around access that have delimited the art world. I assess these efforts to challenge exclusivity. I argue that a great deal of the cultural work that segregates race and class, through the machinations of collecting, occurs because of specific attitudes that keep resources within privileged realms as a result of restrictive practices, actions that define luxury consumption.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48402084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/20511817.2021.2030921
Majdouline Elhichou
Abstract As fashion acts as a mirror of society, the crisis it is facing today reflects the same dynamics of the human and ecological crisis that is affecting the world as a whole. While questions of sustainability have come to occupy center stage in terms of thinking of ways that the fashion industry can help solve this larger societal crisis, all these discussions tend to remain addressed in a compartmentalized manner. Most critiques of the destructive and exploitative nature of the fashion system are centered around its tangible symptoms, such as environmental degradation, human exploitation or lack of inclusion. In contrast to these fragmented critiques, this paper will focus on exposing the root cause of these interconnected symptoms, by putting forward the argument that the very foundations of the fashion system are inherently, humanly, and ecologically unsustainable because they are based on a colonial epistemology. In order to excavate this, an intersectional approach will be used to unveil the different forms of coloniality that make up the foundations of the world, and subsequently the fashion industry, namely: anthropocentrism, imperialism and capitalism. Through a detailed understanding of these colonial markers, the necessity for an epistemological shift will be put forward, one that deconstructs this coloniality and challenges the way we view, produce and consume fashion in a holistic way. And while luxury has historically been praised for its excellence through going beyond the ordinary and being of supreme quality, this paper will make the case that a true transcendental luxury in today’s context needs to be at the forefront of deconstructing the coloniality that makes up the norm of fashion.
{"title":"A New Luxury: Deconstructing Fashion’s Colonial Episteme","authors":"Majdouline Elhichou","doi":"10.1080/20511817.2021.2030921","DOIUrl":"https://doi.org/10.1080/20511817.2021.2030921","url":null,"abstract":"Abstract As fashion acts as a mirror of society, the crisis it is facing today reflects the same dynamics of the human and ecological crisis that is affecting the world as a whole. While questions of sustainability have come to occupy center stage in terms of thinking of ways that the fashion industry can help solve this larger societal crisis, all these discussions tend to remain addressed in a compartmentalized manner. Most critiques of the destructive and exploitative nature of the fashion system are centered around its tangible symptoms, such as environmental degradation, human exploitation or lack of inclusion. In contrast to these fragmented critiques, this paper will focus on exposing the root cause of these interconnected symptoms, by putting forward the argument that the very foundations of the fashion system are inherently, humanly, and ecologically unsustainable because they are based on a colonial epistemology. In order to excavate this, an intersectional approach will be used to unveil the different forms of coloniality that make up the foundations of the world, and subsequently the fashion industry, namely: anthropocentrism, imperialism and capitalism. Through a detailed understanding of these colonial markers, the necessity for an epistemological shift will be put forward, one that deconstructs this coloniality and challenges the way we view, produce and consume fashion in a holistic way. And while luxury has historically been praised for its excellence through going beyond the ordinary and being of supreme quality, this paper will make the case that a true transcendental luxury in today’s context needs to be at the forefront of deconstructing the coloniality that makes up the norm of fashion.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46948269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/20511817.2021.2031009
WenYing Claire Shih
ABSTRACTLuxury brands following years of diversification have recently discovered that contemporary art represents their interests by associating art with luxury artifacts. This attaches intangible values to mundane products by shrouding them with art in the artification process. Contemporary art, on the other hand, has become more of a business network operating within the rules of the market economy. It has become a common practice for luxury brands to collaborate with contemporary artists by staging exhibitions of contemporary art in their purpose-built exhibition halls that serve as inspiration for their creative directors to develop merchandise ranges. In China, a novel retail concept of the art malls has emerged. Private art patrons, developers, state authorities and luxury brands have entered into partnerships. Luxury brands eager to tap into the lucrative markets of Chinese cities, have discovered that art malls best serve their purposes as experiential retailing takes center stage. The partnering actors in both luxury brands and Chinese art mall developers have managed to institute a remarkable business model in the form of a transcontinental network. By capturing value, network participants have generated network capital, which has led them to sources of competitive advantage. In this arrangement, Aesthetic Capitalism has prevailed where the orchestration of excitement takes center stage thus, circumventing the purer intentions of the Creative Economy promulgated by the United Nations.
{"title":"A Business Model of Luxury Brands and Contemporary Art: A Case Study of Art Mall in China","authors":"WenYing Claire Shih","doi":"10.1080/20511817.2021.2031009","DOIUrl":"https://doi.org/10.1080/20511817.2021.2031009","url":null,"abstract":"ABSTRACTLuxury brands following years of diversification have recently discovered that contemporary art represents their interests by associating art with luxury artifacts. This attaches intangible values to mundane products by shrouding them with art in the artification process. Contemporary art, on the other hand, has become more of a business network operating within the rules of the market economy. It has become a common practice for luxury brands to collaborate with contemporary artists by staging exhibitions of contemporary art in their purpose-built exhibition halls that serve as inspiration for their creative directors to develop merchandise ranges. In China, a novel retail concept of the art malls has emerged. Private art patrons, developers, state authorities and luxury brands have entered into partnerships. Luxury brands eager to tap into the lucrative markets of Chinese cities, have discovered that art malls best serve their purposes as experiential retailing takes center stage. The partnering actors in both luxury brands and Chinese art mall developers have managed to institute a remarkable business model in the form of a transcontinental network. By capturing value, network participants have generated network capital, which has led them to sources of competitive advantage. In this arrangement, Aesthetic Capitalism has prevailed where the orchestration of excitement takes center stage thus, circumventing the purer intentions of the Creative Economy promulgated by the United Nations.","PeriodicalId":55901,"journal":{"name":"Luxury-History Culture Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42782934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-23DOI: 10.1080/20511817.2021.1897265
Yeseung Lee
Abstract Setting out from the Simmelian premise that fashion is the site of tension between conformity and distinction, this essay enquires into the element of distinction heightened in minimalist luxury fashion. Minimalist luxury reveals the inherently divisive nature of fashion, putting distance between “us”—the nonchalant, productive, and moral—and “them”—the vulgar, useless, and amoral. Its seeming austerity is an effective mechanism of status assertion, highlighting fashion as a continual cycle of exclusion. The essay examines the class-, gender-, and race-bias implicated in minimalist luxury, before using Martin Margiela’s contrasting practice at Maison Martin Margiela and at Hermès as one case in which the ideals of minimalist luxury are strategically exploited. The case of Margiela also underscores the challenge luxury fashion faces as digital mediation increasingly prioritizes fashion as a visual, rather than material, practice. Digital mediation facilitates the global diffusion of the minimalist aesthetic, dividing the world into mythical classes according to taste, which supports Simmel’s idea of fashion and its potential pertinence to wider intercultural relations.
摘要:本文从Simmelian的前提出发，即时尚是一致性与差异性之间的紧张关系，探讨了极简主义奢侈品时尚中所强调的差异性元素。极简主义奢侈品揭示了时尚固有的分裂性，拉开了“我们”(冷漠、多产、道德)和“他们”(庸俗、无用、不道德)之间的距离。它表面上的简朴是一种有效的地位断言机制，突显出时尚是一种持续的排斥循环。本文考察了极简主义奢侈品中涉及的阶级、性别和种族偏见，然后使用Martin Margiela在Maison Martin Margiela和herm的对比实践作为极简主义奢侈品理想被战略性利用的一个案例。马吉拉的案例也凸显了奢侈时尚所面临的挑战，因为数字媒介越来越把时尚视为一种视觉实践，而不是一种物质实践。数字媒介促进了极简主义美学的全球传播，根据品味将世界划分为神话般的阶级，这支持了西梅尔的时尚理念及其对更广泛的跨文化关系的潜在针对性。
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